Ravel’s Violin Sonata of 1927 strikes for its non-idiomatic demands on the violin: to sound coolly indifferent through the first movement’s flowing theme; pizzicato strums and Blues wails in the second; mechanised circling figures for the concluding Perpetuum mobile. Equally non-traditional is Kaan Bulak’s Violin Sonata, opening with an Agitato in which the violin questions the piano’s restless fluidity. After a dark Cantabile sonoro ‘deconstructing reality with a melody’, a concluding Adagio finds fulfillment. The three Sibelius pieces also feel non-traditional thanks to the violin’s frequent independence from the piano. Prokofiev’s four-movement Violin Sonata No. 2 of 1944 meanwhile began life in 1943 as the Flute Sonata Op. 94, before David Oistrakh—also the dedicatee of his much darker Violin Sonata No. 1—persuaded him to transfer it to violin.